Re: Math and the LCC - with an example

So I think this is some of the most interesting work I've seen (heard) on the Concept. What do you think of this music people???

Bob

Re: Math and the LCC - with an example

Posted: Mon Jan 04, 2016 1:46 pm

by chespernevins

Sounds good to me!

Re: Math and the LCC - with an example

Posted: Wed Jan 13, 2016 12:32 pm

by isaacdelpozo

Hello to everyone,

Questions are good!

Isaac

Re: Math and the LCC - with an example

Posted: Wed Jan 13, 2016 1:06 pm

by bobappleton

My question exactly - So Isaac. What is Super Lydian? And how does it apply to your composition A Very Altered Cherry for example ??

bob

Re: Math and the LCC - with an example

Posted: Thu Jan 14, 2016 11:49 am

by bobappleton

Sal, I know that Isaac just moved to a place where he has limited internet. Thanks opning the discussion... Helk be back to us soon...

b

Re: Math and the LCC - with an example

Posted: Thu Jan 14, 2016 1:03 pm

by bobappleton

I think it could be either

Re: Math and the LCC - with an example

Posted: Thu Jan 14, 2016 2:34 pm

by bobappleton

ok

Re: Math and the LCC - with an example

Posted: Sun Jan 17, 2016 4:17 pm

by dogbite

[quote="SalKur"]"super lydian' if these are your words, what does it mean?[/quote]

i use "superlydian" to describe lydian augmented, the logic being that if superlocrian is the flattest mode of the melodic minor one tone flat from locrian, then "superlydian" is the sharpest mode from melodic minor, one tone sharp from lydian. i would not presume to speak for isaac in any event, but perhaps this is what he meant...

Re: Math and the LCC - with an example

Posted: Sun Jan 17, 2016 4:59 pm

by bobappleton

Re: Math and the LCC - with an example

Posted: Mon Jan 18, 2016 6:37 am

by isaacdelpozo

Hello to everyone,

The harmony of A very altered Cherry is al lydian chords.

You can use either the lydian mode of each chord or the lydian augmented mode also called "superlydian".

All this harmony moves in a modal fashion without dominant motion.

The principle of tonal gravity explains that there is no need to have tension in the chords , cause they move in a natural way due to the exponential geometry of the chromatic scale.

Isaac

Re: Math and the LCC - with an example

Posted: Mon Jan 18, 2016 6:46 am

by isaacdelpozo

I hope that the original helps!

I upload the piano part and the solos harmony.

Isaac

Re: Math and the LCC - with an example

Posted: Mon Jan 18, 2016 6:50 am

by isaacdelpozo

LEAD SHEET- A very altered cherry

Isaac

Re: Math and the LCC - with an example

Posted: Mon Jan 18, 2016 8:38 am

by bobappleton

Hey thanks Isaac - look forward to checking that out on my piano...

b

Re: Math and the LCC - with an example

Posted: Thu Jan 21, 2016 10:30 am

by isaacdelpozo

Hello salkur,

The composition is thought in an open key ( there´s no main tonality).I don´t understand the meaning of "playground swing".

Mathematics define all chords as sum´s of sinusoidal signals and the scales describe ( when tempered) an exponential curve, so answering to your question this is the role that they play.

Lydian chords also can move anywhere, you can try the following progressions on the keyboard:

FLYD/GLYD/ALYD/GLYD/ ( ballad feel)

FLYD/ABLYD/DBLYD/GBLYD/ (random feel)

So it´s proven that they move ANYWHERE. In non-functional music there is no need to have a harmonic justification.

I can upload something about the algebraic characteristics of the lydian scale if the forum is interested.